and gold kirigane. The waves are done in the typical style of Zeshin. Note also the overall asymmetry of design. 23/8" x 23/4" x 5/8". 1 case and lid.
26. INRO. Carp leaping up a waterfall, Signed: Yoshi Kanetomo. The carp is in encrusted mother-of-pearl in high relief. The waterfall is done in silver makie on a gold yasuriko ground. 31/2" x 23/8" x 5/8". 4 cases and lid.
27. DETAIL of inro in Fig. 26, showing encrusted carp and intricate carving of the mother-of-pearl. Note the impression of motion created by having part of the tail of the fish submerged beneath the falling water.
28. INRO. Chrysanthemums. Signed: Koma Kansai. The chrysanthemums are in low black takamakie on a roiro ground. 25/8" x 23/8" x 7/8". 3 cases and lid.
29. KOGO. Tea-ceremony house. Signed: Mori-kazu. A heart-shaped kogo with an extremely asymmetrical design created by alternating rectangles of silver and black. The remainder of the design is in gold takamakie on a roiro ground. 3" x 37/8" x 3/4". (See Fig. 9 for inside cover.)
30. INRO. Plum blossoms. Signed: Tatsuke Takamitsu. The branches are executed in light-brown takamakie, with the buds in high relief of encrusted mother-of-pearl. The ground is in dark-brown coarse-textured lacquer (sabiji) simulating the bark of a tree. 21/8" x 21/8" x 15/16". 2 cases and lid.
31. INRO. Daruma with fly whisk. Signed: Eisen. The Daruma is in red lacquer with a carved wooden face and inlaid ivory eyes. 35/16" x 111/16" x 11/16". 1 case and lid.
32. INRO. Nio temple guardian. Unsigned. The design is executed in gold togidashi on a roiro ground. 33/8" x 2" x 11/4". 1 case and lid.
33. DETAIL of inro in Fig. 32, showing e-nashiji on robe of Nio temple guardian.
34. INRO of Fig. 32 opened to show accompanying zushi. Typical two-section inro used to carry a portable shrine.
35. NETSUKE. Unsigned. Lacquer manju with ground of diaper-work in geometric patterns created by inlaid iridescent mother-of-pearl and gold kirigane, which sets off a fan-shaped medallion design of an egret perched on a boat under a crescent moon. 113/16" x 15/16".
36. INRO. Floral and religious symbols. Unsigned. The design is created by the use of overlapping asymmetrically placed medallions in shades of gold hiramakie and low takamakie on a gold fundame ground. 31/2" x 21/4" x 13/16". 4 cases and lid.
37. INRO. Two men neck-wrestling. Signed: Nakayama. Design in typical Shibayama style of colorful high encrustations of mother-of-pearl, soapstone, and ivory on a gold lacquer ground. This is encircled by powderings of crests on an oki-hirame ground. 35/8" x 211/16" x 11/4". 2 cases and lid.
38. SIDE VIEW of inro in Fig. 37, showing various circular crests in silver and gold hiramakie against a gold gyobu ground.
39. INRO. Chinese scepter and leaves. Signed: Keigai. The design is encrusted on natural sugi wood. The scepter is executed in carved tsui-shu, and the leaves are in mother-of-pearl and gold takamakie. 31/4" x 23/8" x 7/8". 3 cases and lid.
40. DETAIL of inro in Fig. 39, showing enlargement of encrustation in carved tsuishu lacquer in asa-no-ha pattern.
41. SUZURI-BAKO (inside cover). Unsigned. Middle Edo period. This detail reveals the ashide-e technique within a design of flying sparrows and cranes executed in gold lacquer. The ideograms signify longevity.
42. KOBAKO.. Chrysanthemum design. Unsigned. Muromachi period. The stylized design of the chrysanthemums is done in gold lacquer with fine black outlines on a gold ground. The rims are in pewter. 21/8" x 21/8" x 11/2".
43. INRO. Ukiyo-e figure. Signed: Shunsho. The design, executed in green, red, and gold togidashi, depicts a graceful lady on a roiro ground. 31/2 " x 21/8" x 1". 4 cases and lid.
44. INRO. Boy beating a drum. Unsigned. Somada school. Design executed in typical colorful iridescent aogai shell along with silver and gold inlays on a black ground. External cord channels and top and bottom surfaces are also decorated in geometric patterns of aogai shell. 31/2" x 17/8" x 11/4". 3 cases and lid.
45.
